As one of the greatest and most original thinkers and political theorists of the 20th century, Hannah Arendt's life was full of ups and downs. Identity, Heidegger's favorite students, his encounters during World War II, his achievements in philosophical theory, etc., are enough for those who are interested to find out more about it. The film "Hannah Arendt" directed by German female director Margaret von Trotta focused on Hannah Arendt, who was at the center of the public opinion storm in the 1960s. A part of Arendt's life - when Israel tried Nazi Adolf Ekman, Arendt's words and remarks from the height of thought were quite "shocking", and thus revealed "the whole dark story". The darkest chapter in the book", therefore, she has also become the object of abuse and curse.
It is true that Hannah has encountered many hardships in her life, some of which are related to life and death, some of which are related to reputation. This time presented in the film is more related to the degree of human thinking. This kind of thinking touches the soul and broadens the breadth of thinking. The depth also makes the world have a profound perception of "banal evil" - "The most extreme evil in this world is actually committed by unknown people, those who have no motive, no thought, no fierce character or The evil done by evil-minded people who refuse to allow themselves to be human beings with individuality, which I refer to here as "the evil of banality." Hannah also points out: "The lack of thinking makes Many ordinary people allow themselves to do all kinds of cruel acts, some of which have never been seen before. "
In order to better understand Hannah Arendt's portrayal of Hannah Arendt by Cannes actress Barbara Sukova, it is necessary to know a thing or two about Arendt's views on the Eichmann trial. These views, as Norman Portrez once accurately summed up, are undoubtedly the best choice: "In place of the diabolical Nazis, she gave us 'banal' Nazis; instead of the noble and pure Jewish martyrs, she gave us We are given the Jew as an accomplice of evil; instead of the opposition between guilt and innocence, she has given us the 'cooperation' of perpetrator and victim. "
The easiest thing for human beings to do is to follow blindly. Once a kind of speech occupies a dominant position, most people will fully accept it and consciously or unconsciously protect it. For a history of suffering, people have heard more and watched more tragic scenes. , it is easy to make a subjective reaction, so one side is compassion for the undead, and one side is abhorrence of demons. This is the most mainstream attitude towards that human tragedy. As a philosopher, Arendt's reflections on historical tragedies will not stop at an ordinary level. Her reflections are multi-angle and multi-level, not only rich but also very profound. She dares to take risks and expose some The disguise of the political body breaks the way of thinking that good people are accustomed to, and tore off the mask of certain groups covering their own weakness, so she placed herself at the center of the hurricane, and she did so just as a philosophy home work.
It is not easy to create such a female philosopher. Hannah Arendt, played by Barbara Sukova, has calm and twinkling eyes. When Arendt is expounding her point of view, the audience seems to feel that His eyes shone with the light of reason and wisdom. Like Arendt in reality, the Sukova cigarettes in the film are always in hand, especially when the cigarettes curl up in silence, which seems to imply the brewing of a brainstorm. Of course, Arendt, played by Barbara Sukova, is not strong and rational to the point of indifference and alienation. When she inevitably recalls the past, there is always sorrow and grief in her eyes. She will never forget everything about the concentration camps. The memory of not going, "As long as there is still a little warmth in summer, we will feel that the bad luck will pass quickly." With these words, Hannah Arendt is not bound by worldly constraints, and is not bound by identity. The fetters of the past, and the attitude of viewing the entire trial process from the perspective of philosophical thinking is awe-inspiring.
Someone once compared Trotta, a director who was obsessed with political and historical backgrounds and focused on feminist films, to Hannah Arendt's thinking and persistence in images. Now, Trotta has made this film. Of course, it is not easy to shoot such a biographical segment of a philosopher, because there must be a lot of philosophical thoughts and thoughts during this period. And the film brings Hannah's important point about the "evil of banality" not concretely through her reporting for The New Yorker and her new book, but through her classroom, which is presented more than Wonderful, the audience included not only students, but also Hannah's opponents. The questions and rebuttals that jumped out from time to time adjusted the feeling of fatigue that a long discussion might bring, making the rhythm relatively smooth and fast. And from the very beginning of the film, the plot subtly begins at Hannah's house, asking Hannah to talk with her friend Mary about family and men, "When it comes to men, you are either submissive or alone for a lifetime", "Never in your novels are you There has never been a perfect man, so why should a real man be perfect?" The philosophers who chatted easily like this gave the film a sense of clarity from the very beginning.
As shown in the film, people attack Hannah Arendt and even call her the Nazi Ekman surname, in fact, most of them have not read the article she wrote, and some even just After accepting the reading information given by a third party, I jump to conclusions and eager to vent my anger. This kind of common human problem has continued. It was the same in the 1960s and is still the same today. It can be seen that not everyone has the ability to think and discern, and people with the ability to think are often "alone in a silent dialogue."
"Thinking is a lonely career." Where, thinking Hannah is alone.
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